본 논문은 조셉 콘래드의 첫 희곡작품 『하루만 더 기다리면』을 원작인 단편 「내일」과 함께 비교하며 콘래드 희곡각색의 특색을 살펴보았다. 콘래드의 초기 작품들은 남성을 중심으로 한 남성적 서사가 대부분이었다. 그런데 그가 희곡으로 각색한 작품들은 여성인물이 중심이 되며, 『하루만 더 기다리면』은 그런 콘래드의 희곡적 특성을 잘 보여주는 작품이기도 하다. 본 연구에서는 먼저 콘래드의 희곡이 가지고 있는 여성 중심적 특성에 대해 논하고, 이어서 그의 첫 희곡인 『하루만 더 기다리면』이 연극화된 배경과 이 작품이 각색되면서 여성인물이 어떻게 더 부각되는가를 살펴보았다. 특히 멜로드라마적인 요소를 차용하면서 동시에 그런 요소들을 전복하고, 수동적인 여성인물에게 적극적인 성격을 부여하고, 원작의 서술자를 없애는 대신 여성인물을 중심으로 다른 인물들을 재배치한 그의 희극적 특성을 살펴보았다.

This study examines the characteristics of Joseph Conrad’ adaptations by comparing One Day More, his first adaptation, with its original text, “Tomorrow.” Most of Conrad’s early works were focused on the narratives of male characters. However, his plays centered around the female characters, as illustrated in One Day More. Joseph Conrad, well known as the novelist writing on the male sailors’ stories, describes the female characters’ stories in his late works. His plays, including One Day More, are adaptations of Conrad’s female characters’stories. This study first discusses the features of Conrad’s three plays; the women, who are minor characters in the original texts, stand out prominently with loud voices in the adaptations; this change is shown in his first adaptation, One Day More. Second, this study explains the melodramatic features of the play and their subversion. One Day More and its original text, “Tomorrow” start with a melodramatic anticipation of a typical love story, but they end with the subversion of this anticipation. Lastly, this study discusses how the female-centered structure of One Day More can be caused by the differences between novel writing and play writing, especially by the absence of narrators who act as a male voice.